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6 partitions trouvées
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1
Two Scenes from the Lodz Ghetto - Chamber Version: 1. At the Clothing Department; 2. To Get a Ration
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Stanley M Hoffman
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2
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Two Scenes from the Lodz Ghett
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stanleymhoffman.com
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SheetMusicPlus
Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,...
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Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. 240 pages. Stanleymhoffman.com #1015206. Published by stanleymhoffman.com (A0.1435098). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.
$60.00
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
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Mark O'Connor
#
Johnny Cash
#
Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
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Mark O'Connor
#
Johnny Cash
#
Piano Trio No. 1 "Poets a
#
Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
Jerusalem for Trombone Quintet
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Parry, Hubert
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Terrett, Keith
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Jerusalem for Trombone Quintet
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792303 Composed by Parry, Hubert. Arranged by Terrett, Keith. 20th Century,Christian,Patriotic,Romantic Peri...
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Brass Ensemble Trombone - Level 5 - SKU: A0.792303 Composed by Parry, Hubert. Arranged by Terrett, Keith. 20th Century,Christian,Patriotic,Romantic Period,World. Score and parts. 7 pages. Gordon Cherry #4803953. Published by Gordon Cherry (A0.792303). Jerusalem, or And did those feet in ancient time is a short poem by English poet William Blake. Parry set these famous words to music in his great unison song Anthem in 1916. The poem was inspired by the apocryphal story that young Jesus actually traveled to England, a legend in the Book of Revelation describing a New Jerusalem. The song was also taken up by the Suffragettes in 1917. The song was changed to Jerusalem as a metaphor, that when Britain was made perfect, there would be heaven on earth. The work is considered to be England's most popular patriotic song. The music has been taken up by the Church of England and is frequently sung as a recessional hymn on St. George's Day. Most recently the song was used in the wedding of Prince William and Kate Middleton to great applause. Mr. Terrett's version can be performed by advanced players. The first part is in alto clef.  
$22.50
Aleksander Czarnecki - Tales of the Hidden Kingdom, Op. 15
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Contemporain
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Aleksander Czarnecki
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Aleksander Czarnecki - Tales o
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Aleksander Norbert Czarnecki
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SheetMusicPlus
Small Ensemble Flute,Harp,Piano,Piccolo - Level 5 - SKU: A0.1032136 Composed by Aleksander Czarnecki. Contemporary. Score and parts. 162 pages. Aleksand...
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Small Ensemble Flute,Harp,Piano,Piccolo - Level 5 - SKU: A0.1032136 Composed by Aleksander Czarnecki. Contemporary. Score and parts. 162 pages. Aleksander Norbert Czarnecki #4411649. Published by Aleksander Norbert Czarnecki (A0.1032136). Aleksander Czarnecki (1993-2018) was a Polish polymath, pianist - composer, mathematician and a philosopher. His research focused on the Calabi Yau manifold. He left an astonishing musical legacy, unprecedently rich, diverse and impressive for his young age, including several large scale works as well as piano/orchestra miniatures, chamber music, pieces for piano solo etc. His unmistakingly personal compositional style could be easiest described as post-classical/post - tonal, and is instantly recognizable by its highly intrinsic, intellectually refined idiom of Scriabinesque, modernist/ avant guarde, New Complexity , later minimalist/repetitive music influences married with frequent appeals to historic techniques (contrapunctus, Gregorian plain chant, French harpsichordists, ethnic modality), a dense emotional drive and a profound sensitivity, all in the best of the resolutely post-Romantic tradition further enhanced with a super-human - as if machine induced - level of pianistic/structural difficulty, typically far beyond the one represented by the most demanding examples of, say, Godovsky's/Cziffra's transcriptions or Sorabji's works. (Jozef Kapustka, pianist)Aleksander Czarnecki on his scientific research: My research work concentrates on the modularity conjecture for Calabi-Yau manifolds according to which the Galois representation is isomorphic ( exact to the semisimplification and the finite number of Euler factors) to the Galois representation assigned to an automorphic form -equivalently the L-series of the Calabi-Yau manifold should be equal to the L-series of a certain modular form. The modularity conjecture has been extensively studied by many algebraic geometricians (Dieulefait, van Straten, Yuri, Schoen, Hulek, Verrill, Schuett, Meyer) however these studies have not resulted in producing a sufficiently representative number of examples of small level modular forms. In the best understood, rigid case of Calabi-Yau threefolds defined over the field of rational numbers, the modularity conjecture delivers from a more general Serre conjecture, as proven by Wirtemberger and Khare. Additionally, the modularity has been known a property only for certain particular Calabi-Yau varieties. For some non rigid Calabi-Yau threefolds (certain double octics) defined over rationals ( or more generally over particular number fields) the existence of modular or Hilbert modular forms has been hypothetically suggested. I am mainly interested in Frobenius polynomials of non-rigid double octics and have been extensively working with variants of Dwork's deformation method, monodromy and selected p-adic methods including algorithms by Kedlaya, Lauder, Tuitman et al. , Picard-Fuchs operators etc. (Aleksander Czarnecki, 2018)
$99.00
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Used To Be Young
